Quotes About Vision

Understanding vision and building visual systems is really understanding intelligence.

It's really hard for me to finish a song unless I have a strong visual in my head while I'm writing it.

I've always had a kind of visual eye, and it was a pleasant exercise for that.

When we started EA in 1982, our goal was to make games as big a media as visual entertainment or movies. That was how big we dreamed at the time.

Light comes to us by the sensibility. Without visual sensibility there is no light, no movement.

I think that cognitive scientists would support the view that our visual system does not directly represent what is out there in the world and that our brain constructs a lot of the imagery that we believe we are seeing.

Jazz vision for me is seeing my art in musical term. It offers me an visual expressions in an ever-changing musical palette.

I've created, directed and choreographed for Lady Gaga since the beginning, so 'Born This Way,' this was musically such an amazing evolution and such a brilliant record. So when she played it for me, it took me a while to find out the visual interpretation that I could give back to her.

Visual elements are, of course, the director's job.

The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words - that's magical. That's what I've been trying to strive for - to draw a clear picture, to open up a new dimension.

My ideas come, wh-pheww. And I draw. Just recently, when I'm searching for ideas for paintings and sculptures, I wait for ideas, and it's always visual.

It is difficult, but intriguing, to imagine seeing the world as a fly might. First, flies don't have nearly the same visual resolution that we do... so you have to imagine a fuzzier image. Second, fly eyes are faster than our own and are very sensitive to motion.

Why do we use flash at all? Because photography is not the same as eyesight. We can see in low-light situations where cameras, dependent upon a physical process to record visual information, are half blind.

The fruit flies we work with have the equivalent of about a 25 by 25 pixel camera. But that camera is very, very fast, about 10 times faster than the human visual system.

I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.

I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.

I am not a visual innovator.

I couldn't do a record without knowing I'll translate it into something visual.

When I was thinking of video ideas for this song, I wanted it to reflect the energy of the music and express the big eye roll that 'Sit Here and Cry' is. I had a very specific visual vision for it, and when I saw Sam Siske's reel, I knew he was going to get it.

I'm inspired by visual stimulation.

Animals see a video of the world. If an animal were only to see still images, how would its vision develop? Neuroscientists have run experiments in cats in a dark environment with a strobe so it can only see still images - and those cats' visual systems actually underdevelop. So motion is important, but what is the algorithm?

As a director, I start with the visual.

The way it works in commercials is they come to you with the script, and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it and your interpretation of it, but it's very much the agency's idea.

Well, I have to have some type of visual in my head to finish a song. I can't finish a song if I can't see anything.